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VJM 189 Hugo Van Der Laan
103 Early Blues/ In the Mornin', Session 10-006 E+ 104 Policy Blues/ I don't Know, Session 10-014 E- looks E+ but spots of light swish Hugo van der Laan 105 The Mississippi Mudder Sweet Jelly Rollin' Baker Man, De 7207 EE+/E 106 Alice Moore Too Many Men/ Don't Deny Me Baby Decca 7369 E- Van Beuningenstraat 53 D 107 Hand in Hand Women/ Doggin' Man Blues Decca 7380 EE+ 2582 KK Den Haag 108 Red Nelson Black Gal Stomp/ Jailhouse Blues the Netherlands BB 7918 E/EE+ 109 Joe Pullum Black Gal No. 4/ Robert Cooper, West Dallas Drag No. 2, buff Bluebird 5947 E- [email protected] light label damage sA/ large lipstick trace sB 105 J.H. Shayne Mr Freddy's Rag/ Chestnut Street Boogie Circle 1011 E-E 106 Pine Top Smith Brunswick album B-1102 E- Pinetop's Blues/ Boogie Woogie, Br 80008 E- Piano Blues 78’s for auction. Packing and air mail is 15 Euro, anywhere, for any I'm Sober Now/ Jump steady Blues amount of records. Payments by Eurotransfer, Bank transfer and Paypal. Br 80009 E- second masters Grading is aural, how they play with a ‘0028 stylus. E+ is the highest grade. 106 Speckled Red with Mandoline, Guitar, Try Me One More Time/ Louise Baltimore Blues, BB 8012E+ 107 Johnny Temple New Vicksburg Blues/ Louise Louise Blues 100 Albert Ammons' Rhytm Kings, Jammin' the Boogie/ Bottom Blues Decca 7244 E-/V+E- pdig restored audible 5' 12" Commodore 1516 E 108 Jinks Lee Blues/ Sundown Blues, BB 8913 E- 101 Leroy Carr with Scrapper Blackwell, My Woman's Gone Wrong/ looks V I Ain't Got No Money Now, Vo 02950 E- 106 Hociel Thomas with Mutt Carey sA, Go Down -
Pressure of Trying to Make Each Note and Phrase a Little Jewel
(Sportiello, Metz and Parrott) had the crowd buzzing during intermission and rising en masse for a standing ovation... KEN FRANCKLING/JAZZTIMES Together, they are the most elegant trio around! DICK HYMAN ...pure straight ahead heaven... doesn’t miss a beat or drop a false note... CHRIS SPECTOR, MIDWEST RECORD ANY DAY IS A GOOD DAY FOR SOME SONGS Many recording sessions are tense affairs, because the musicians feel the pressure of trying to make each note and phrase a little jewel. But at a Rossano Sportiello session, his delight in being allowed to make music, his easy assurance that there is no need to rush, makes everyone feel relaxed and joyous. No one could feel tense when his directions to the other musicians are so gentle, “You watch me. Maybe something nice will come out.” During playbacks, the control room was atypically quiet, because everyone (including visitors Harry Allen and Rebecca Kilgore) was busy listening and smiling. This trio is a friendly supportive community. Each voice is equal yet the three players come together from the first notes in a lovely synergy. Hear Ed Metz’s beautiful touch, his light-hearted rhythms that recall Jake Hanna so well: feathery brushwork or explosive accents. (Ed provides wonderfully apt incidental percus- sion, too.) Hear Nicki Parrott’s swinging pulse, the rich sonorities of her bass. Dur- ing this session, I would have sworn I heard a rhythm guitar because her sound is so ripe and full. As a singer, Nicki is one with the song. Her subtle, understated delivery is always convincing, whether she’s being perky or rueful. -
Leonard Ware
1 The GUITAR of LEONARD WARE Solographer: Jan Evensmo Last update: April 30, 2015 2 Born: Richmond, Virginia, Dec. 28, 1909 Died: March 30, 1974 Introduction: Leonard Ware was one of the first jazz performers on the electric guitar, and that fact should be enough reason for a solography! And after I heard his recording debut session with Sidney Bechet, he was definitely a candidate for further studies! History: Originally an oboeist - studied at Tuskegee. Switched to guitar in the early 1930s and formed own highly successful trio which played many residencies in New York during the late 1930s and early 1940s. Recorded with other leaders including Sidney Bechet (1938), Herbie Fields (1944), Don Byas (1945), etc., etc. Left full-time music many years ago to work for the New York Postal authorities. (ref. John Chilton). 3 LEONARD WARE SOLOGRAPHY SIDNEY BECHET & HIS ORCHESTRA NYC. Nov. 16, 1938 Sidney Bechet (cl, sop), Ernie Caceres (bar), Dave Bowman (p), Leonard Ware (el-g), Henry Turner (b), Zutty Singleton (dm), The Two Fishmongers (vo-duet). Four titles were recorded for Vocalion: 924-1 What A Dream Solo 14+8 bars, (bar) on bridge. (FM) 924-2 What A Dream As above. (FM) 925-1 Hold Tight Solo 16 bars. (M) 925-2 Hold Tight As above. (M) 926-1 Jungle Dreams Solo 16+8 bars, (bar) on bridge. (FM) 927-1 Chant In The Night Solo 32 bars with (bar) acc. (M) This is a real swing session!! The great Sidney Bechet really jumps with this group, and Ernie Caceres shows that he is one of the finest baritonesax performers in swing era. -
Paper for B(&N
International Journal of Humanities and Social Science Vol. 9 • No. 9 • September 2019 doi:10.30845/ijhss.v9n9p4 Biographies of Two African American Women in Religious Music: Clara Ward and Rosetta Tharpe Nana A. Amoah-Ramey Ph.D. Indiana University Department of African American and African Diaspora Studies College of Arts and Sciences Ballantine Hall 678 Bloomington IN, 47405, USA Abstract This paper‟s focus is to compare the lives, times and musical professions of two prominent African American women— Clara Ward and Rosetta Thorpe — in religious music. The study addresses the musical careers of both women and shows challenges that they worked hard to overcome, and how their relationship with other musicians and the public helped to steer their careers by making them important figures in African American gospel and religious music. In pursuing this objective, I relied on manuscripts, narratives, newspaper clippings, and published source materials. Results of the study points to commonalities or similarities between them. In particular, their lives go a long way to confirm the important contributions they made to religious music of their day and even today. Keywords: African American Gospel and Religious Music, Women, Gender, Liberation, Empowerment Overview This paper is structured as follows: It begins with a brief discussion of the historical background of gospel and sacred music. This is followed by an examination of the musical careers of Clara Ward and Rosetta Thorpe with particular attention to the challenges they faced and the strategies they employed to overcome such challenges; and by so doing becoming major figures performing this genre (gospel and sacred music) of music. -
Download the Alto Saxophone of Don Stovall
1 The ALTOSAX of DON STOVALL Solographer: Jan Evensmo Last update: Aug. 5, 2019 2 Born: St. Louis, Missouri, Dec. 12, 1913 Died: NYC. Nov. 20, 1970 Introduction: I don’t think anybody in Oslo Jazz Circle recognized Don Stovall, in the old days we simply did not play that kind of music, and we hated the Decca recording company for all their mediocre sessions. Ghus missing out on things we should have noted and appreciated. History: Began playing violin as a child before settling on alto. Played in St. Louis, Missouri with Dewey Jackson and Fats Marable on riverboats in the 1920s, and then played with Eddie Johnson’s Crackerjacks in 1932-33. In the 1930s he lived in Buffalo, New York, where he led his own ensmble and played with Lil Armstrong. He moved to NYC. in 1939, and played there with Sam Price, Eddie Durham and Cootie Williams. Following this he recorded extensively with Red Allen, remaining with him until 1950. He retired from the music industry in 1950, and spent the remainder of his life working for a telephone company (ref. Wikipedia). 3 DON STOVALL SOLOGRAPHY BUDDY JOHNSON & HIS ORCHESTRA NYC. Nov. 16, 1939 Courtney Williams (tp), Don Stovall (as), Sonny Fredericks (ts), Buddy Joihnson (p, vo-66891), unknown (g), (b), (dm), The Mack Sisters (vo-66889,90,91). Four titles were recorded for Decca: 66889-A When You’re Out With Me Obbligato 6 bars. (FM) 66890-A Jammin’ In Georgia Solo 8 bars. (M) 66891-A Stop Pretending Solo with ens 16 bars. (M) 66892-A Reese’s Idea Solo with ens 16+8 bars, (tp) on bridge. -
Boogie Reis 09 Proves3
BENVINGUTS a la cinquena trobada de pianistes de Boogie Woogie a Catalunya! Un espectacle musical ple de ritme i diversió. 2 pianos de cua a l'escenari, 4 pianistes en acció rememorant l'estil més calent sobre les 88 tecles, el Boogie Woogie. Grans especialistes nacionals i internacionals d'aquest estil com Ricky Nye (USA), Fabrice Eulry (FRA), Chris Conz (SWI) i Lluís Coloma compartiran dues vetllades irrepetibles, tocant piano solos, duets ... Dos concerts màgics, el millor regal d'aquests Reis RICKY NYE (USA) FABRICE EULRY (FRA) LLUIS COLOMA RICKY NYE va néixer a Cincinnati, Ohio, Fabrice Eulry va néixer el 4 de setembre de 1962. Va Nascut a Barcelona (1973), Lluís és un mostrant un interès especial per la música ja passar la seva infància a Tuníssia, la seva adolescència a dels pianistes més actius i reconeguts de als cinc anys. Lion, va anar a Nova Orleans i finalment es va instal·lar a l'escena estatal en el camp del Blues i el París el 1990. És difícil de dir quin aspecte de la música no Boogie Woogie. Influenciat des de molt Els seus nombrosos viatges musicals l'han interessa a Fabrice i quin estil no pot tocar! jove pels discos de Jerry Lee Lewis, portat a formar la seva pròpia banda de Blues, Roosevelt Sykes i Alan Price, Lluís Boogie Woogie i New Orleans, al piano i a la Regularment actua i ha actuat amb coneguts artistes com s'allunya poc a poc dels estudis de piano veu, actuant en solo, duet i banda. Nancy Holloway, Big Jay Mac Neely, Joël Daydé, Gilbert clàssic per dedicar-se, de manera Leroux, Sidney Bechet junior, Dubbie Duncan.. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
Ralph Sutton I Giganti Del Jazz Vol. 46 Mp3, Flac, Wma
Ralph Sutton I Giganti Del Jazz Vol. 46 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: I Giganti Del Jazz Vol. 46 Country: Italy MP3 version RAR size: 1177 mb FLAC version RAR size: 1350 mb WMA version RAR size: 1331 mb Rating: 4.5 Votes: 901 Other Formats: RA XM AA MIDI ADX AAC MOD Tracklist A1 Opus No.1 2:46 A2 Honeysuckle Rose 5:00 A3 Alligator Crawl 2:41 A4 Gee Baby, Ain't I Good To You 4:05 A5 Stomp Off, Let's Go 2:33 A6 I'm Gonna Sit Right Down And Write Myself A Letter 3:10 B1 Savoy Blues 5:13 B2 Dream A Little Dream Of Me 3:42 B3 Open Ears 2:29 B4 Dark Blue World 4:01 B5 What The Middle Ages Were Like 2:34 B6 Them There Eyes 2:31 Other versions Category Artist Title (Format) Label Category Country Year Ralph Sutton & Ralph Sutton & Classic Jazz Collegium 1115 2416 Classic Jazz - Ralph Sutton & Supraphon 1115 2416 Czechoslovakia 1979 Collegium Classic Jazz Collegium (LP, Album) Ralph Sutton & Ralph Sutton & Classic Jazz Collegium 1 15 2416 Classic Jazz Supraphon 1 15 2416 Czechoslovakia 1980 - Stomp Off, Let's Go Collegium (LP, Album, RP) Ralph Sutton & Ralph Sutton & Classic Jazz Collegium 1 15 2416 Classic Jazz Supraphon 1 15 2416 Czechoslovakia 1980 - Stomp Off, Let's Go Collegium (LP, Album, RP) Ralph Sutton & Ralph Sutton & Classic Jazz Collegium GJ-46 Classic Jazz Curcio GJ-46 Italy Unknown - I Giganti Del Jazz Collegium Vol. 46 (LP) Ralph Sutton & Ralph Sutton & Classic Jazz Collegium GJ-46 Classic Jazz Sarpe GJ-46 Spain 1981 - Los Grandes Del Jazz Collegium 46 (LP) Related Music albums to I Giganti Del Jazz Vol. -
Bandinfo English 2018.Indd
Jazz, from New Orleans to Swing, presented in an entirely original form by the leading Classic Jazz group in Germany: BARRELHOUSE JAZZBAND www.barrelhouse-jazzband.com Founded in 1953 and active ever since, the BARRELHOUSE JAZZBAND has gai- ned national and international renown and ranks among the top groups of the Euro- pean scene. The BARRELHOUSE JAZZBAND presents a special blend of elements from all phases of traditional jazz, with predominant accents from the early big band style of the twenties, the small band style around 1930 and the New Orleans Renaissance. All numbers are played in new original arrangements. The band also plays many original titles written by members of the band. Some of them became very popular, like „The Barrelhouse Showboat“ and „Take Us To The Mardi Gras“ (by Horst Schwarz). The band has toured more than 50 countries on 4 continents and appeared at all major jazz festivals in Europe, e.g. The Hague, Breda, Nice, Paris, San Sebastian, Ascona, Zurich, Lucerne, Cracow, Cork, Birmingham, Copenhagen, Oslo, Berlin and many more. When the Barrelhouse Jazzband played at the New Orleans Jazz Festival - rits, received the honorary citizenship of the birthplace of jazz. in1968, they were one of the first bands from Europe who, in recognition of their me The band has recorded more than 30 albums and has received - beside other awards - the „German Phono Academy Award“ for the Best Traditional Jazz Record of the year (Quotation: „Highly intelligent old jazz, full of vitality, enlightened music, al- ways with that beautiful black feeling“). Eubie Blake, the famous ragtime pianist and composer, heard the band and commented: „Everything that I write I mean from the bottom of my heart: This is one of the best for a small orchestra that I have ever heard. -
0013 Big Joe Turner.Cdr
International PO Box 935, Byron Bay Tel: 61 2 6687 4441 NSW, 2481 Australia Fax: 61 2 6687 4445 Tel: (02) 6687 4441 Web:http://www.aiminternational.com Fax: (02) 6687 4445 E-Mail:[email protected] TRADING GROUP Pty Ltd ABN 78 093 907 914 AVAILABLE NOW Big Joe Turner Shake, Rattle & Roll In Concert AIM 0013 CD 1. Roll 'Em Pete 2. Shake Rattle & Roll 3. Hide & Go Seek Big Joe Turner (b. 18 May 1911, Kansas City, Missouri) began singing and bartendering at the age of 15 in 4. Stormy Monday Blues Kansas City, and joined up with pianist Pete Johnson with whom he would continue to perform with for the 5. When The Sun Goes next 40 years. He was known as the "Singing Bartender" and during this time sang with the bands of Bennie Down Moten, Count Basie and others. In 1938 on his second trip to New York, he appeared on John Hammond Jr's 6. Ain't Gonna Be Your "From Spirituals To Swing Concerts" and on Benny Goodman's CBS Radio Show. Turner's early recordings Lowdown Dog show him as a fine jazz singer, but it is on his Blues recordings where his shouting style can be heard that he 7. TV Mama was so truly influential on so many singers who followed. 8. Flip Flop & Fly He made numerous recordings just before and during the World War II, in his Jazz-Blues/Jump Blues style, a 9. Chicken & The Hawk style he continued with after the war until by the late 40's his music had taken on an R&B style that by the early 10. -
Really the Blues, Mezzrow Says: “I Was the Only White Man in the Crowd
rom the time that Mezz Mezzrow first heard Sidney Bechet playing with the Original New Orleans Creole Jazz Band in Chicago in 1918, he nursed a burning ambition to record with him, inspired by the duets Bechet played with the band’s clarinettist Fleader, Lawrence Dewey. It took Mezzrow 20 years to realise that ambition, finally achieving his goal when French critic Hugues Panassié made his recording safari to New York in November 1938. The 12 tracks on this album are of later vintage, a selection from the sides that Mezzrow made in the mid-forties when he was president of the King Jazz record company. Recalling the Bechet dates in his celebrated autobiography, Really The Blues, Mezzrow says: “I was the only white man in the crowd. I walked on clouds all through those recording sessions… How easy it was, falling in with Bechet – what an instinctive mastery of harmony he has, and how marvellously delicate his ear is!” The Mezzrow-Bechet partnership was a conspicuously one-sided match because Mezzrow had nothing like Bechet’s stature as a musician. But he was undoubtedly a good catalyst for Bechet, for whom he had a boundless admiration, and he made no secret of his inability to measure up to Bechet’s almost overpowering virtuosity. Mezzrow once said of one of his sessions with Bechet: “I was ashamed of not being better than I was, to give him the support he deserved and the inspiration, too”. Mezzrow came in for more than his share of adverse criticism during his playing career, and certainly he was never more than a mediocre musician whose intonation was frequently wretched. -
Artist with Title Writer Label Cat Year Genre
Artist With Title Writer Label Cat Year Genre Notes Album Synopsis_c Anonymous Uncle Tom’s Cabin No Label 0 Comedy Anonymous - Uncle Tom’s Cabin, No Label , 78, ???? Anonymous The Secretary No Label 0 Comedy Anonymous - The Secretary, No Label , 78, ???? Anonymous Mr. Speaker No Label 0 Comedy Anonymous - Mr. Speaker, No Label , 78, ???? Anonymous The Deacon No Label 0 Comedy Anonymous - The Deacon, No Label , 78, ???? Anonymous First Swimming Lesson Good-Humor 10 0 Comedy Anonymous - First Swimming Lesson, Good-Humor 10, 78, ???? Anonymous Auto Ride Good-Humor 4 0 Comedy Anonymous - Auto Ride, Good-Humor 4, 78, ???? Anonymous Pioneer XXX, Part 1 No Label 0 Comedy Anonymous - Pioneer XXX, Part 1, No Label , 78, ???? Anonymous Pioneer XXX, Part 2 No Label 0 Comedy Anonymous - Pioneer XXX, Part 2, No Label , 78, ???? Anonymous Instrumental w/ lots of reverb No Label 0 R&B Anonymous - Instrumental w/ lots of reverb, No Label , 78, ???? Coy and Helen Tolbert There’s A Light Guiding Me Chapel Tone 775 0 Gospel with Guitar Coy and Helen Tolbert - There’s A Light Guiding Me, Chapel Tone 775, 78, ???? Coy and Helen Tolbert Old Camp Meeting Days R. E. Winsett Chapel Tone 775 0 Gospel with Guitar Coy and Helen Tolbert - Old Camp Meeting Days (R. E. Winsett), Chapel Tone 775, 78, ???? Donna Lane and Jack Milton Henry Brandon And His Orchestra Love On A Greyhound Bus Blane - Thompson - Stoll Imperial 1001 0 Vocal Donna Lane and Jack Milton - Love On A Greyhound Bus (Blane - Thompson - Stoll), Imperial 1001, 78, ???? G. M. Farley The Works Of The Lord Rural Rhythm 45-EP-551 0 Country G.